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L19978A Cinema FCP DS.Qxd Cinema Tools for Final Cut Pro Advanced tools for film and 24P HD video. Key Features Professionals looking for the highest image quality, most accurate color, and richest visual effects know that film and high-definition (HD) video are the optimal media formats available • Works with Final Cut Pro to enhance the editing process for 16mm and 35mm film or 24P high- today. But until now, digital editing tools for film or HD video have been unavailable to those definition video on a limited budget. With Cinema Tools for Final Cut Pro, the functionality of a high-end • Converts NTSC (29.97 fps) and PAL (25 fps) video specialized 24-fps editing system is now available on a Power Mac or PowerBook.* Cinema Tools to 24 fps for true 24-fps nonlinear editing with provides tools that work with Final Cut Pro to edit film digitally and work with the emerging Final Cut Pro • Import and export of edit decision lists (EDLs) at 24P high-definition video standard. By leveraging the strengths of Final Cut Pro—price, per- 24 fps formance, and flexibility—Cinema Tools for Final Cut Pro makes editing 35mm film, 16mm film, • Capable of converting 24-fps EDLs to NTSC EDLs and 24P HD video projects less expensive and more accessible than ever before. (29.97 fps) and NTSC EDLs to 24-fps EDLs • Imports a variety of industry standard telecine logs, including, ALE, ATN, FLX, and FTL Cinema Tools for filmmakers • Generates cut lists for film projects by tracking Conversion of film to video, a process called telecine, makes it possible to use the real-time the relationship between film key codes and the architecture and nondestructive nature of Final Cut Pro to put different scenes and edits corresponding video time codes together quickly and easily. The edited video in Final Cut Pro is not the end product but is • Cut lists for film projects include optical lists, titles list, dupe lists, scene and pull lists, and missing used to provide the information needed to conform the original camera negative into the elements lists final movie. • Exports audio edit decision lists for use with postproduction audio tools Cinema Tools for Final Cut Pro tracks the relationship between the original camera negative and the video established in the telecine logs during the telecine, then generates a cut list based on the edits you made with Final Cut Pro so that a negative cutter can accurately recreate the edited video project on film. By providing the critical link between the original film negative and computer-based editing on Final Cut Pro, Cinema Tools offers a cost-effective alternative to expensive and cumbersome postproduction systems. What Cinema Tools does for film • Tracks all the elements that go into the making of the final film. It records all the relationships among the original camera negatives, the transferred videotapes (with synced sound), and the captured video clips on the editing computer. • Based on the edits you make in Final Cut Pro, generates the cut list required to conform the original camera negative to the final edited movie. • Generates cut lists for film projects that include — Optical lists, including the placement of transitions, motion effects (video at other than normal speed), and titles — Dupe lists for duplicate frame usage (using a shot more than once when the original film only has one instance of the shot available) — Pull lists and missing elements lists for media management • Tracks the relationships between the audio used by Final Cut Pro and the original production audio sources. You can even use the edited audio from Final Cut Pro when creating an edit decision list (EDL) and then process (sweeten) the audio with a digital audio workstation (DAW). Specification Sheet Cinema Tools for Final Cut Pro 2 Cinema Tools for 24P high-definition video professionals The excellent quality of 24P video presents a challenge when it comes to editing because of the bandwidth and storage space it requires. Editing uncompressed 24P video directly in Final Cut Pro requires a system that has large, fast hard drives and specialized capture hardware. The 24P standard uses the same 24-fps rate as film, making it possible to take advantage of existing con- version techniques to create NTSC and PAL versions. It uses a progressive scanning scheme and a high-definition image (1920 pixels per line with 1080 lines per frame) to create video output well suited for conversion to film and projection on large screens. Additionally, the 24P standard makes it possible to create high-quality 24-fps telecine transfers from film. Such transfers are useful when you expect the final product to be broadcast in multiple standards. Cinema Tools provides functionality that enhances the ability of Final Cut Pro to edit video at a 24-fps rate, such as import and export of 24-fps EDLs. It also lets you convert 29.97-fps NTSC and 25-fps PAL video to 24 fps. For NTSC, this includes a reverse telecine function that removes the extra frames added during the 3:2 pull-down process commonly used when transferring film to video or when down-converting 24P video. For PAL, Cinema Tools includes a conform feature that can be used to change the video rate from 25 fps to 24 fps. Online or offline 24P high-definition video: you decide Typically, editing 24P video with Final Cut Pro and Cinema Tools is a two-step process. The first step is an offline session using compressed and down-converted (to NTSC or PAL) clips, followed by a second, online session with recaptured uncompressed clips in high definition. Even better, if your online 24P editing system is Final Cut Pro, you can simply copy the project from the offline system, allowing you to preserve far more information about the edit than with an EDL alone. But if your Final Cut Pro system is not configured to edit uncompressed 24P video, it can serve as an offline editor and export a 24-fps EDL to be used by a 24P online editing system. Cinema Tools enhances the already legendary offline and online editing flexibility of Final Cut Pro to work with 24P high-definition video the way you want to: you decide. • Importing 24-fps EDLs: useful when you’re online-editing 24P material that has been offline-edited on a different non-linear editor (NLE) • Exporting 24-fps EDLs: useful when you’re offline-editing 24P material with a 24-fps editing time- base that will be onlined on another NLE • Converting an EDL to or from 24 fps: useful when you’re offline-editing 24P material using an NTSC (29.97 fps) editing timebase or online-editing 24P material that has been offline-edited on an NTSC system • Creating an audio EDL when using dual-system audio: useful when you intend to recapture the audio elsewhere for final processing Cinema Tools and your next film or 24P HD video project Final Cut Pro from Apple brought digital video editing to a new generation of filmmakers. Now Cinema Tools for Final Cut Pro extends those capabilities with powerful tools to give you increased flexibility when working with film and 24P HD video, today’s “gold standards” for moving images. No other single application or suite of products of comparable cost can match the ability of Final Cut Pro and Cinema Tools to work with all major formats from OfflineRT, DV, SD uncompressed to HD, as well as now finish on film. Specification Sheet Cinema Tools for Final Cut Pro 3 For filmmakers, Cinema Tools provides the critical link between the original film negative and computer-based editing on Final Cut Pro. For those interested in HD video, the flexibility of a single computer with Final Cut Pro and Cinema Tools acting as an offline and/or HD finishing system will enable more directors to choose this emerging media standard. Production com- panies both small and large now have alternatives to editing film in a variety of formats on their choice of hardware, including FireWire-enabled Mac systems running Mac OS X. Factor in the ability to work in all major formats (exceptional for any nonlinear editor at any price point) and the flexibility of working on a Power Mac or PowerBook, and Cinema Tools for Final Cut Pro is clearly a cost-effective alternative to expensive and cumbersome postproduction systems. Features Benefits Added capabilities for Final Cut Pro • Enhances Final Cut Pro to speed the postproduction process by allowing you to generate cut lists directly from Final Cut Pro. • Extends the ability of Final Cut Pro to work in additional formats: film and 24P HD video. Support for popular film formats • Imports and exports edge code numbers for both 35mm 4-perf and 16mm-20, the two most common film formats in use today. Import and export of 24-fps EDLs • Enhances the ability of Final Cut Pro to act as an offline editor and/or HD finishing system: — Importing 24-fps EDLs: useful for online-editing 24P materials in Final Cut Pro that have been offline-edited on another NLE — Exporting 24-fps EDLs: useful for offline-editing 24P material with a 24-fps editing timebase with Final Cut Pro that will be onlined on another NLE Versatile EDL conversion capabilities • Improves workflow flexibility by converting: — 24-fps EDLs to 30 fps (NTSC) — 30 fps (NTSC) to 24-fps EDLs Support for industry-standard telecine logs • Imports logs in any of these formats: — ALE (Avid Log Exchange) — ATN (Aaton) — FLX (Flex) — FTL (Evertz) Versatile options for exporting edit decision • Identifies edge-code numbers and footage and frame counts to lists and negative cut lists indicate the proper location for cuts.
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